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The award-winning Composer and Producer Steven Lamar Moore releases his versatile and picturesque EP, 'Scores & Moore (Original Film Music Soundtrack).' Having scored several award-winning films like "CAGED" and "KINGS," Moore has perfected artistic creation through delving deep into the creative visions of various artists and directors. With the release of his EP "Scores & Moore (Original Film Music Soundtrack)," Steven Lamar Moore introduced us to his vast talent through ethereal orchestration and atmospheric Soul/R&B. Opening the project with the intro instrumental "Bounce," sweet melodic keys grace our ears while pulsating strings rain from above. With spacey synth melodies that add depth to the track, we're naturally feeling lifted within a matter of seconds. As the beat drops with cheerful mid-tempo drums, a plucky electric guitar, and a groovy bass lick, we naturally picture an opening scene of a bright day in the city exuding with optimism and life. We love the vibrant pictures Steven Lamar Moore paints within this upbeat instrumental. Softening the project with the second track "Kings," Steven Lamar Moore opens this piece with the utmost elegance and grace. He fills this track with superb orchestration straight out of a Disney movie, triggering all sorts of nostalgia and reflection for listeners to ponder on. The layered string section creates this blissful sensation while brilliantly switching keys and adding incredible texture to such a heartfelt arrangement. Adding a faint touch of the harp to end the piece off, we love the project's versatility thus far. Spicing it up with modern flair through the third track "Superstar (feat. Lamar)," this is the only song where Moore adds his warm vocals. He opens the song with mid-tempo piano keys and a subtle beat, while Steven Lamar Moore begins rapping with poise and confidence. He tells a story of justice and cultivation, where the 'Superstar' brushes the haters off and minds his own clearheaded business. This track is highly R&B-infused, especially at the hook where layered angelic vocals pour-over and serve listeners a slice of sweetness. Brightening the project with an uplifting acoustic piece titled "Carlton St.," we're transported to warm places through textured acoustic guitar melodies that somewhat resemble flamenco with boundless energy and spirit. Accompanied by flavourful background strings for added depth, we love the playful and serene tone Steven Lamar Moore has created with the instrumentals. The upbeat pace perfectly balances out the EP's vibes by creating each track to be incredibly different, and we can't get enough of the natural warmth exuding from this piece. Moving on to a more heartfelt and acoustic piece with "Book St.," the track calmly opens like the beginning of a childhood DreamWorks film, through calming woodwind instrumentals and enchanting strings, from violin, cello, and harp. The transcendent clarinet melodies perfectly complement the iridescent flute while they melodically sing back and forth, creating a heavenly atmosphere full of dreams, passion, and life. Closing the song with added brass elements for a touch of warmth, we're wildly impressed with Steven Lamar Moore's vast creative talent. What sounds to be a continued "Book St.," the next song "Jarvis" goes even deeper into broad and enchanting orchestration. What strikes our ears are the added brass instrumentals, being heavier and more expansive than the track prior yet still delivering needed warmth. As the song opens with mellow woodwind melodies and a silky string section, we noticed that Steven Lamar Moore perfectly shifts the atmosphere from light to dark within his brilliant transitions. Ending the song off with a crisp outro that adds a sense of unpredictability and suspense, we're ready for the next track to take us "Home." The outro track "Home" begins with deep and moody strings that set a mythical and enchanting tone within seconds. While lighthearted layered violin swiftly enters the song, the entire atmosphere moves to this beautifully alluring and captivating space that puts any listener in a child-like wide-eyed state. We can't express how vast and expansive this track is, as Steven Lamar Moore has composed this piece to reflect the entire project above and close the final chapter of his sonic story. Doing so in a mesmerizing way, we're astounded by the vastness and enormity the entire project delivers. "Scores & Moore (Original Film Music Soundtrack)" gives listeners the perfect introduction to Steven Lamar Moore's broad creative talent. Through groovy R&B and stunning orchestration, we're eagerly awaiting the next film Moore scores. We love the versatility and depth you've created within your EP, 'Scores & Moore (Original Film Music Soundtrack).' How did you get around to creating this project, is the EP supposed to be used for any upcoming films? Thank you very much! I wanted to make a soundtrack album that told my story. An EP that reflected who I am and where I come from. My family was a huge inspiration, it's dedicated to them. That’s how I came around to the idea of this EP. So I used these cinematic themes, songs, and instrumentals to evoke the emotions that I’ve felt throughout my life. It wasn’t intended to be used in any upcoming films. Did you have anything that particularly inspired your EP 'Scores & Moore (Original Film Music Soundtrack)'? Did you want to tell a story through your composition? I’ve always had a major obsession with orchestral music. Ennio Morricone and Quincy Jones were my inspirations. I loved their versatility and the ability to make memorable thematic music. It prompted me to make compositions that told a story of my life and make it like a musical suite. What inspired you to take this creative route and infuse your EP with R&B elements as well as enchanting orchestration? What was your creative process like? All those elements are a part of me and came pretty naturally. I found a space where I can incorporate orchestration, R&B soul/funk, and hip hop while staying true to myself. The process consisted of me composing an idea, orchestrating that idea across the orchestra, and additional production elements. What sort of film do you think your EP 'Scores & Moore (Original Film Music Soundtrack)' would fit with best? How do you tweak your compositions to blend with a film's theme and motif? I believe it would fit best with an animation film. Depending on the pace of the film and how its cut, will determine how your motif/theme navigates throughout the film. Whether that’s shortening a theme or expanding it, for example, are some options you have as a composer. At the end of the day, we’re storytellers, and as storytellers, we have to make sure we remain honest to the picture. Seeing as you also produce music for R&B and Hip-Hop artists, do you undergo a different creative process when producing for an artist versus scoring for a film? There’s definitely a different approach. When scoring a film, you cater to the director of the film. You are an extension of him/her, and things are a lot more calculated. When producing for an artist, you have a bit more freedom and not overthink the process as much. Instagram #BUZZMUSIC

The Nashville-based Country Singer/Songwriter Abby Lindsey releases her reflective and tender debut single, "She Knew Better." Turning to songwriting to help cope with life's trials and tribulations, Lindsey dived deep into the realm of songwriting, whether it was for her own career or someone else's. With her debut single "She Knew Better," Abby Lindsey goes deep into a disheartening message that's sure to strike a relatable chord. Writing this song the day after a past lover married someone else, Lindsey explained that it was a tough pill to swallow. Thus, leading her back to the drawing board to create a tune full of heart, desire, and regret. "She Knew Better" gracefully opens with melodic and slightly echoed piano keys, all while Abby Lindsey's breathy and calming vocals enter the song with elegance and strength. As she begins describing a dreary situation with lyrics like "-She knew what she wanted and how to get it, and I sure didn't," we can't help but feel our heartstrings being tugged on one at a time. Abby Lindsey shifts back and forth into this dynamic delivery where she powers through with strength, while also reflecting on the struggle she's endured. The supporting instrumentals swell to deliver this heartwarming atmosphere through drifting electric guitar, soulful piano keys, and mid-tempo drums. Ending the song with energy and intensity, Abby Lindsey has perfectly crafted this heartfelt debut single to physically release pent up emotions that haunt her, and "She Knew Better" serves all the healing we can sonically receive. Listen to "She Knew Better" here. Hello Abby, we are so thrilled to have you with us at BuzzMusic. We love how you introduced yourself to fans through your heartfelt debut single, "She Knew Better." What can listeners learn about you and your music from listening to the single? I hope listeners learn that transparency and honesty is something I will always share with my audience. To me, good music is conveyed with realness and raw emotion -without that, I personally can’t connect to a song, so how would the audience? Speaking of honesty, hopefully, they learn from my mistakes and tell someone how they feel so they don’t have a she/he knew a better moment! How long was "She Knew Better" in the making? Did you face any challenges when writing your heartfelt lyricism that depicts struggle and turmoil? I wrote this song over two years ago with my fabulous co-writers & friends - Amy & Lydia - the day after my life-long love married someone else. Talk about bittersweet. I sat on it for a few years because, honestly, I wasn’t ready to release the song which was my closure with him. Luckily, I met and fell in love with a wonderful man in the past year and came to terms with letting this little songbird leave the nest. The process though was actually super seamless despite the message. The emotions were so raw and fresh the day we wrote it, the song poured out in like an hour. It flowed so organically and came out better than I ever imagined and I think it’s because I was just so blatantly honest with myself and my co-writers. Did you perform any of the instrumentals yourself within "She Knew Better"? What was the creative process like with regards to the song's sweet instrumentals? I actually didn’t. My fabulous producer, Josh Barker, was the mastermind behind the instrumentals. He played everything from the piano intro to the banjo, and the base track itself that he built from scratch. My strength is not in the instruments, unfortunately — I think I can play like four guitar chords on a good day (haha!), so I just stuck to harmonies on this one. One day, I brought the song to Josh and we sat at his piano in his vibey studio in the basement of his house and he just started playing the piano loop you hear at the beginning of the song… and I just sang to it. We immediately got in the booth and laid down scratch vocals and then built everything on the track together from there. I was raised on 90’s country so I LOVE the sound of a banjo or steel guitar so I knew I wanted to incorporate that sound into this song. I feel like it’s such a good balance of the things I love about country music instrumentally, while still capturing the modern essence of country music today. I’m so proud of it! Since moving to Nashville with only $50 in your pocket, could you enlighten us on how you managed to kickstart your career and land where you are today? Network. Network. Network. Honestly, where it all kick-started for me was when a college friend of mine introduced me to one of her family friends that had been writing in Nashville for decades and he took me under his wing and introduced me to a lot of awesome people — one of which is who I wrote She Knew Better with. Since then, my circle of musician friends and network has expanded so much - all because of that one fateful connection! With everything happening in the world, music is connecting and bringing people together. What has been one of your favorite releases this year and why? My family, unfortunately, lost our matriarch to cancer earlier this year - my Mamaw. She was everything to me and losing her has been the hardest thing I’ve ever had to face. Patrick Droney released a song earlier this year called “Glitter” and it wrecked me in the best way. He compares grief to glitter and the mess it makes in our life, literally and figuratively. I play it every time I’m in the car and I just sit in my grief for a minute. I turn the volume up and sing at the top of my lungs and remember my Mamaw. And honestly, it makes me feel better. Music is healing that way - that’s really what made me want to do this forever and this song made me remember that all over again. Instagram Website #BUZZMUSIC

Songwriters and Darkwave collaborators, Hannah Park and Steven Spillane have been colluding together as Shiro since early 2017. Within a year, they would release their first offering of garage and grunge blended dark-wave meets Lo-Fi Post-punk under their first Eponymously titled EP, marking the fun-fair exhibitions of their cosmonaut journey through ambient and disillusioned expanses of time and space. This year, with COVID-19 in full swing, the Long Beach synth-festooned new-age rock duo release a more-compact and carefully designed sonic daydream variant of their sound—an arms reach away from their previous more garage-leaning electro meets dark-wave sonic amalgamations—titled, "I Remember." On "I Remember," the reverberated electronic beats chaperoned by Hannah Park's carbonated melodies float buoyantly amongst the introspective and quietly devastating narratives she disperses from electrically glass-like reverberated voids she finds herself in—think an induced ambient hallucination meets an introspective daydream, over a prismatic soundtrack pumping from the imaginary speaks above. Here, a symphonic orchestration of the audible dance between clean amped electric guitar and twinkling sprite-like synths endow the ears as Steven Spillane takes a ride between gyrating dark-wave-tinged echoes and oscillating riffs for each transition between morose and somehow uplifting and optimistic-sounding refrain sections that fester behind every hopefully infatuating vocal hook. Over four minutes and fifteen seconds, Park captivates through mantra-like incantations that dissolve into every bordering synth that Spillane operates behind, gripping on and then letting go of each word from Park's blue-whispering lips. As the sonics prove more and more enamor over the coruscating kaleidoscopic panorama of Shiro's "I Remember," subtle after-glow streams out from overhead as the equivocal final lines mark the end of this New-age journey: "Where do we go from here? Where do we go from here? Follow me into nothing, don't let me say goodbye." It's almost lulling as Shiro's lines fade back into their mystifying new-age production, like ruminating candlelight that reaches its natural course of life, fading naturally with an incandescent poof as it passes from one phase to the next. Hello, Shiro's and welcome to BuzzMusic. What sorts of emotions were you trying to highlight through both the narrative and instrumental orchestrations behind "I Remember?" We were trying to highlight a sense of wistfulness in both the narrative and instrumental orchestrations. “I Remember” is a song that is primarily about the aftermath of grief, and that can encompass a lot of different emotions. On one hand, there can be a sense of calm when the grieving period is over, but there is still a lingering sadness that can make someone feel nostalgic or incredibly sad at any given time, even years from when the loss happens. We want to encompass these emotions: sad, yet peaceful, yet somehow still not over it. How did the inception of "I Remember" work? Did it start with a top-line, a crucial message without a voice, or MIDI notes on a keyboard? “I Remember” started with the chord progression which was slightly inspired by Claude Debussy’s piano piece “Reverie”. The feeling of the progression is very dreamy yet melancholic, almost like one is stuck in a dream rather than reality, which is kinda how one can feel when they’re dissociated from a traumatic event (like grief). At the time we both lost some family members and very close friends to us, and Hannah was listening to a lot of classical music. Claude Debussy’s music particularly stuck out, I think partly because he also composed a lot of music that was inspired by his daughter’s early death. We wrote a loosely inspired progression and from there, we stacked on vocals, then guitar and then Midi keyboards and drums. The lyrics just came to Hannah naturally since they were a compilation of a lot of the feelings that were cropping up constantly due to losing so many important people to death and various life circumstances. Do you think "I Remember" represents you best as Shiro, compared to some of the earlier aesthetic from your 2018 Debut? Yes, we definitely believe that this single represents us better than the debut we had in 2018! Sonically, we were definitely different and felt more like a “rock” band than an “electronic/synthpop” duo. “I Remember” is a mix of all the different genres we love and is the product that came out of not limiting ourselves to just one genre of music. It has elements of pop, synth-rock, classical, jazz, ambient, trap, pretty much everything we love. In 2018, we were limiting ourselves to a more “hard analog” sound, and I think allowing electronic experimentation into our music really opened up some musical boundaries for us. If you could give your listeners a few imparting words that you think would improve their understanding and experience behind "I Remember," what would you feel the need to say and why? I would say that in order to understand “I Remember”, the listener should try and think about loss. It doesn’t necessarily have to be about a huge loss like death, and it doesn’t have to be about a person either. It could be anything or anyone that was lost through time, or misunderstanding, or different circumstances. If you’ve experienced loss, then you can understand the feelings that can crop up: sadness, peacefulness, a desire to go back to the way things were, or even who you were at the time, since the grief could have changed you. “I Remember” is an attempt to relive those feelings as a reminder to people listening that loss is a human experience and they are not alone. What has been the band's biggest inspiration this year while creating new music? The biggest inspiration for us this year has been so many of the POC and women/non-binary people that have been killing it in the scene! It just inspires us to do better and learn more about our instruments than ever before. We are also inspired by the countless activists and compassionate people that try their best to stand up to inequality in this world, and our good community of friends that always support our music. We are so grateful for every opportunity that we got and will continue to work harder than the rest! Instagram Twitter #BUZZMUSIC

'It's a Renaissance', with all its scintillating guitar riffs, quivering vocal unisons, and heavy heaving drums that fasten-tightly to the core-ends of every uncanny and wonder-inducing track oozing over the edges of DEATH ED.'s post-punkish stanza—renders-up gold. Imagine if you took the nonchalant horror behind The Misfits plus an in-their-prime Nirvana, and blended them together while smudging that intoxicating and post-pock reduced goo over five evenly balanced tracks. What you'd have is a modern-concept New-Orleans-based reimagining of what that combination's authentic alternative post-punk vibe would sound like. With two extended plays behind them already, Steve and Chuck recapitulate their creative endeavors together under DEATH ED. for another year, to collude over the unwavering amalgamated hard-earned sonics the duo have coined themselves as "Levee-Metal"—a wink at the below-sea-level city of Nola, and all the flood-barriers made of cement and sand that surround the Louisianna-state gem. Here, the rocker duo gathers full-handed from the influential touchstones of their musical ancestors with a connoisseur's palate, and sorts amongst the wandering and weaving air-pressurized electric wattage that festoons every enthusiastic scream their intoxicatingly-bold EP provides. The opening eponymous track feels like a gyrating rock cabaret with saturated bass-guitars, screaming choruses, and banging 80s-vibed drums leading in the head-banging and hip-swinging choreography of this introductory cut. As Steve croons over, "It's a renaissance of sorts, I got my recorder out, and I'm recording my thoughts," he diffuses an enthusiasm and rasp that can't be recreated; at least not without guzzling down some debauchery-inducing top-line; it's a gas-guzzling auricular joyride centered around a narrative dead set in the Hollywood hills. As the duo serenade us over their Tenacious-D reminiscent howls during the final moments of this EP's opener, the next track, "The MVFM," opens with a captivating guitar-line that fuses hazy and intoxicated vibes from out of the thin, super-charged air; surrounding this mid-tempo anthemic mud-slide. Here, the audible heat-wave arrives festooned with dripping drums, distorted uproaring guitar-solos, and engine thumping stanzas that would have any rock 'n' roller shoot up their beer-occupied hands in a show of respect. With two minutes and forty seconds separating you from the dynamo style double-time punk breakdown that unfolds during the closing half of "The MVFM," it's not surprising if you looked back at your phone and wondered why you haven't heard this band sooner. As you're rudely awakened from the daydream-like state the smooth-marching cigarette-garnishing love song coruscates from every black-out inducing guitar solo festooned corner, DEATH ED. starts looking like a playlist permanent. If "Hollywood" was the speed-induced joyride through the California hills under the intoxicating influence the late-80s, then "Two-Glovers," is the fundamental pit-stop through the bluesy punk-filled watering hole within the desolate landscapes of a Cali desert. Here, amongst "Aaaahs" and "Yeahs!" DEATH ED. reminds their fans that the stanchions they've established in the garage and grunge aesthetics of prior releases, like "Shitman's Sampler," was not a short-lived fad. Over a shoe-gaze wall-of-sound, the rocker-duo greets you and quickly waves 'au revoir' with a Parquet Courts-evocative below when Steve resounds over verses and choruses with a buzzing, "I wasn't torn between two lovers, I was torn between two glovers," like he's confessing his transgressions over the whisky-bar his shady bartender wipes off with an inebriated grin in discontent. When looking back, 'It's a Renaissance,'—the duo's third EP to date stands as a step away from the grunge and garage sounds of their past, and into a more modern aesthetic that embellishes the sounds of their inspirations. It's an attempt to display their free-fall dive into new, more innovative, nostalgia-inductive sonic territories; where deep cavernous spaces oozing with hot-blooded guitars, nostalgia dripping rhythms, and adhesive Post-Punk Top-line croons converge over the Post-Punk sonic landscapes Steve and Chuck have highlighted so vividly on this latest EP. Listen to 'It's A Renaissance' here. When you think about the process behind "It's A Renaissance" and your last release from earlier this year, what stands out as contrasting and noteworthy? Well, our official “last release” entitled “Shitman’s Sampler“ was a farce. We put out a 33 “song” album of authentic outtakes that just spontaneously happened in between the recording of actual songs. Don’t get me wrong; it’s fun, funny and I love it, but I think what you are referring to is our last REAL release “In Fat City”, so I’ll go that route. There are a few contrasting things that stand out. First, the writing process. On the last album, many of the songs and ideas were already written (even years old) and then pulled together to form an album. For “It’s a Renaissance”, the songs were all brand new and written within a couple of months. Well, that’s almost true. “Two Glovers” was already partially written (but completed with the others), but never recorded, played live, or heard by another soul. So still technically new. Also, the songs themselves. On this new record, we got a bit more experimental and revisited some of the styles of music we were playing when we first started out (not as DEATH ED.) many years ago. Lastly, the studio environment. Generally, when we go in to work on new music, there is a lot of clowning around coupled with a lot of rum. Don’t get me wrong, there was a little bit of both this time, but the overall feel was much more focused. We were on a mission to knock this album out quickly to catch that fresh, cohesive feel. What inspired the cohesive aesthetic and Rock 'n' Roll dynamics behind "It's A Renaissance?" While I think we’ve come close with previous efforts, I don’t know if we ever really captured that full cohesive thing where you can just tell as the listener that the songs you are listening to were all written very close together and then recorded right away to capture that moment in time. I think we finally accomplished that with “It’s a Renaissance”. So, that was the inspiration; to finally do it! As for the rock and roll dynamics, I think that always comes from whatever the inspiration is at the time. If it’s real, it is going to shine through in the music. Do you feel like New-Orleans had a significant influence over the way "It's A Renaissance" turned out, both sonically and behind the anecdotes in certain tracks? We used to try and distance ourselves from the whole New Orleans thing for a couple of reasons. One, because everyone from around the world equates the city with jazz, Cajun music, etc., which we obviously are not. Also, Nola has a very well-known metal scene, which never fully accepted us either. We were always heavy, but not quite heavy (or serious apparently) enough. So we never really wanted to claim this city. However, as time goes on, it seems that New Orleans has had and continues to have a significant impact on us and our sound. I mean, we are from here after all and it really is an interesting place with inspiration everywhere. And when it comes to the sonic aspect, we have incredible studio equipment engineered by our own Chuck Diesel. The thing is though, that it (and we) are housed in a dilapidated shack, not far from the famous New Orleans cemeteries and literally eight feet from an operating railroad track; like one wrong move and we’re done. So, yeah, all of that plays into the sound, or at least we’d like to think that it does. What were some of the Milestones you set out for yourselves concerning "It's A Renaissance," and how did you end up accomplishing those goals after all things were said and done? I think I may have answered some of this already. We wanted a cohesive sound, we wanted to be more experimental and revisit some of our past approaches to writing and recording. We did that. We also put out our first 5-song album, which was intentional. Up to this point in DEATH ED.’s history, we’ve had a pattern of 4-song EPs and 8-song full-length albums (as well as a 33-song frolic). We wanted to sort of start from scratch, like a rebirth. Hence the name “It’s a Renaissance”. What has been keeping you inspired in 2020? Man, it’s been hard to stay inspired in 2020. We’ve had a puzzling pandemic and polarizing politics (AND alliteration!). But seriously folks, from a writing standpoint, I’m always inspired. I know that even if I hit a dry spell, all it takes is one spark to get the ball rolling. Instagram #BUZZMUSIC

Jason Faust is an L.A. Based producer who hopes to elevate his listeners’ souls to a place of great joy. With the knowledge of how competitive the music industry is, Jason knows that his perseverance is essential in achieving his goals. He uses his platform to spread feelings of youth, relaxation, and elation through his expressive soundscapes. One of Jason Faust's most favorable qualities as an artist is his willingness to collaborate with other musicians for his songs. He has recently collaborated with the likes of electronic producer Wyldephyre, pop intoner Chanti, and Hip-Hop rapper Ashton Martin. Jason takes advantage of the unique cultures and music flavors of collaborators by meshing them into one dance-inducing track. He has been known to draw inspiration from the diverse musical styles of the Caribbean, Saint Maarten, Deutschland, and America. With his soundscapes jam-packed with a vintage flair, Jason Faust always leaves his fans wanting more. Check out our recent interview with Jason Faust here. Instagram #BUZZMUSIC

Based in Los Angeles, California, Chrisol is a Singer and Songwriter who fuses her Latin roots with her contemporary version of new wave Disco-Soul. On September 18, Chrisol released her debut EP 'Lovely' which showcases the versatile nature of her songwriting. Chrisol embraces a vintage quality by mastering the entire project on reel-to-reel tape. Influenced by musical legends such as Ella Fitzgerald and the Fania All-Stars, Chrisol shows us her own perspective of old-school soulful energy with each song of “Lovely.” Named after the EP, her leading single “Lovely” embodies her very modern spin on soul. The relaxed beat echos with the electronic soundscape and is joined by the occasional finger snap and hand clap for effect. Chrisol’s silky vocals compliment the backtrack, and she showcases her talent as she peppers in some jazz effects with elegant trills of her voice. Without going overboard with dynamic pitches her voice stays within a comfortable realm of the pitch, making the catchy melody easy to sing along to. Much like every other song from the EP, “Lovely” could double as a soundtrack to an old romantic film. The song closes with a saxophone solo that eventually trails off and leaves the listener wishing that they could hear more. We know that each song from your EP was influenced by the idea that it could be a soundtrack to a film! Can you elaborate on your soundtrack theme? How does the song “Lovely” compare to the rest of the songs on your project? When arranging each of the songs, I pictured them visually with a different protagonist and desire, just how they would in a film. I also wanted the EP to be sort of a sampler of my writing. So rather than one cohesive film, you can hop through different scenes with each track. I had the verses written for Lovely long before I wrote the chorus, almost a year actually. To me, this one kicked the cinematic theme because I envisioned some classic Gene Kelly-esque scene and "Lovely" is the song that the two main characters would waltz off too once they finally admitted their love to one another. Sort of a dreamy escape into a musical number but topped with some 808's. Could you describe the lyrics of “Lovely” and your message behind them? The song is coming from a place of unrequited love. You have a person beckoning the other to stop overthinking and "just let it be lovely" because in the end relationships are all about what you're meeting the other person with. One half of the partnership is coming from a place of true old Hollywood romance, while the other has doubts (naturally) that they need to overcome to be able to float off into the adventure. There's also the underlying theme of escape in "it can feel as good as we want it to be," if love is not what you're looking for maybe you just need a way to make life feel good around you and sometimes we get in our own way and won't allow that to happen.  When creating your music, do you ever experience the frustrations of writer's block? If so, how do you navigate this and overcome it? All the time. I think each time I'm blocked it takes a new approach to overcome it. This is why it can be so frustrating because first, you have to play doctor to your own mind and get out of your own way. The process to get rid of writer's block looks different every time. That being said, there are some tricks that I turn to every time, and that generally helps me get back on track. The first is listening to music from a place of joy. When you're trying to create, it's easy for things to feel like work and you forget why you put yourself through this. So taking a step back and listening without critique or comparison is a great place to start. After that, I will turn to freewriting songs, poems, journaling...it doesn't matter...so long as I'm keeping that practice alive.  You are known for blending a variety of genres into your music from Jazz to Latin to Disco-Soul. Can you tell us what genres inspired you during your songwriting process for “Lovely?” When your genre blend it's hard to pinpoint what the common denominator is for each sound. So far I've discovered that one of the themes in these sounds is an indulgence. You can escape as far away as you'd like, dance freely, and love. I wanted "Lovely" to sound like a complete surrender to romance and freedom. Allowing someone to escape to that place in their mind that allows them to be the main character of the story.  What has been keeping you inspired in 2020? The resilience of my community, both musicians and non-musicians alike. As BIPOC (Black, Indigenous, and People of Color) we're being tested and learning so much about the world we live in. It's been a hard year for playing shows but we're learning to use our voice to continue to create in other ways and invite meaningful conversation into new spaces. Rather than feel fear of alienating people, now there is more of a willingness to learn and I will happily continue down that path. Art and protest go hand in hand, also, Black Lives Matter. Instagram Facebook #BUZZMUSIC

nicky ros is the uniquely diverse multi-instrumentalist, Producer, and bilingual Songwriter, who gathers the touchstones of his Cuban and Argentinian roots with a connoisseur's ear in order to deliver the rambunctious cadence behind his Contemporary R&B and Latino amalgamating sonic productions. On his latest escapades in the Music Industry, the budding artist pays homage to his heritage and diffuses his ethos of reminding Latino-Americans about their culture over his latest tantalizing title, "Orlando." Over the salacious melodic testimonies of the exotic-sounding acoustic guitar, nicky ros pulls you in close for the beginnings of a buoyant fluttering glide through the punchy R&B low-end that supports the island-vibed serenades diffusing from our serenader's lips. The main attraction here is the top-line and the enigmatic ad-libs that echo back into the void from which they evaporated into reality. Here, over the kaleidoscopic textures that nicky throws out into the multi-universe, Jeane Marie's timeless eloquence and quivering vocal harmonics collude and flourish over the expanses of the hook, "I'm obsessed with you taking that off, ima give the life that you want." The effervescent aural sensations don't stop there though; as you dive deeper into the monsoon of drippy vibes set on display, Zacc P's verse exhumes like the clandestine recordings you'd find from the underground corners of the Urban R&B fad coming out of Central Florida. Overall, when you're in the fleshiest parts of nicky ros's "orlando," it's almost impossible not to get lost in the hip-swaying and knee-buckling dynamics that this banger deduces with every seamless transition from crooning hook to bustling stanza. Looking back, the unrelenting tenacious energy that spills out from over verse and chorus of "orlando," shouldn't come as a surprise. nicky ros was born into music, and through the countless years of self-development and study he's placed behind his craft, it's no wonder this multi-talented songster is a house-hold name by now. Hello nicky, thanks for catching up with us at BuzzMusic. What was the idea and narrative behind "orlando," and how did you manage to curate your collaborator's musical contributions throughout this playback with such cohesion? “orlando” was inspired by the NBA bubble. I received the beat from an A&R at my record label La Flia Records. Tyas & Cnote both did their thing in creating the dark, sensual Latin trap vibe that I love. I wanted to make a song that had basketball influenced lyrics and would be relevant to the culture of the city of Orlando. The hook flowed easily and was finished in about 10 minutes. My sister Jeane Marie is from Orlando so her feature was inevitable and she absolutely bodied it. We spent a couple of days looking all over social media for a second Orlando artist and Zacc P was a perfect choice. When you think back, what were the primary emotions you found yourself channeling into to produce the nonchalant vocal performance you captured on this record? I originally had a much breathier take off the hook done, similar to that of a Bieber vocal. We sat on it for a few days and decided it needed more edge and “ride-along” energy; went back in and finished it in one take. The adlib and harmony layering that Jeane Marie & I did is my favorite part of the song. We created a lot of subtle movement through the second and third y choruses especially that keeps the listening experience fresh throughout. What was your experience like working with Zacc P and Jeane Marie on this single, and what made you seek them out for a highlight on this track? So much talent and drive. There are a few very important people in my life that inspire me to always push myself that extra mile. I truly believe Jeane Marie is one of the most underrated female vocalists with massive crossover potential. She’s so much fun to engineer too and is willing to receive constructive criticism and apply it free of ego. Stay tuned for her next single “Rowdy”, she’s about to take off. Zacc is a Florida gem. We’ve worked on several projects together now and he’s incredibly consistent with his talent and knowledge of what he wants things to sound like. I’m incredibly grateful that both of them are from Orlando and believed in the project enough to contribute. Can you tell us about any milestones you've set out for yourself in 2020? What sorts of steps are you taking to get closer to achieving those goals? I had a goal of reaching 25k monthly listeners. When “orlando” dropped, it was humbling how quickly we passed that mark. Then we passed 50k, then we passed 75k... finally we reached 100k monthly listeners. Something huge for me this year has been focusing all my energy on one song at a time and working on collaborations. Music has become exponentially collaborative through social media in the internet era, and I learned a lot from the Latin market that listeners almost expect to hear 3-4 different artists on a song. It’s cross-promotion and more horsepower that way. What has been keeping you inspired this year? All the fear and negativity in the world due to COVID. I believe it’s our job as artists to provide some reassurance and reminder of the “normal” world and continuing to provide not entertainment is an honor and responsibility. Also, I’ve been motivated a lot by seeing my mom again. I haven’t seen her since she moved back to her hometown of Argentina to be with my grandmother and I am doing everything in my power to get signed and buy a house here in the States for them to live in. instagram.com/nickyxros #BUZZMUSIC

RandiVision is the San Bernardino-bred, now L.A. based Rapper who takes the foundations of West Coast trap and interfuses the new-age sounds of West Coast Hip-hop into productions that traverse over the boundaries of the monotonous sounds of Contemporary Radio. Naturally, it wasn't uncommon to see the Cali rapper dabbling in the salacious stylistic territory of R&B with cuts like, "Balloon," from 2018, which sounded like a ghost-like rendition of Contemporary R&B from someone like The Weeknd. With his confidence in identity and aesthetics, he still manages to develop his south-western Ingle Emcee-inspired potency on tracks like, "Call Me," from the same year. But his next steps in the music industry would reach more adjoining modern sonic lines that draw reminiscent to some of the South-West Trap sounds, with the single "AFAR," from May of this year. Those sounds haven't wandered far from the amalgamating alternative-trap and hip-hop sonics of his latest anticipated record, "909," which is about to take the music industry by storm. On this latest cut from the Victorville-raised rhymester stands cohesive in his recent trap aesthetic with a song like "Neva Be Owned," opening up the concentrated journey through RandiVision's spear-head record. Here, RandiVision takes the hard-pressed words, "I ain't no fuckin' slave," and "I will never be owned," as the hooking lines of his liberated boast about keeping his independence as his most valuable medium. There's booming 808 subs that act as the adhesive to this freedom escapade, with riffling hi-hats that pay homage to the trap aesthetic with a lump sum of 32nd note scatterings that indulges our tastes for all things drippy and find their way on almost every cut from this record. His voice warbles with a vocal effect that draws reminiscence to Travis Scott's 'ASTROWORLD' and the vocal processings that highlighted that album as groundbreaking. Over the buoyant cadence of his lyrics, he describes his escape from the underworld and his rise over rap's dominions with a hammer over the chains of his authoritarian enemy's grasps. The next track utilizes a similar influence from the previous, as "Airborn" comes swooping in with vacillating samples that cascade over the lively edges of this buzzing mix. Through uncanny airborne echos that shoot off the last words of RandiVision's stanzas with a kaleidoscope beam of sound that punctuates each of his adlibs with a Sci-Fi hue. The production here is ornamented with a punchy backbeat that utilizes the oozing saturated crispiness of a sub-synth to affect our deepest core. It's another track that highlights this West-coaster's ability to sit comfortably amongst the kaleidoscope mixes he produces so effortlessly. After this nostalgic detour settles, "The End" comes tip-toeing in and renders like the downshift in our flying saucer of mid-tempo singles. Here, earthy drums come festooned with a vintage muddiness that unmistakably mirrors some of the best hip-hop samplings of the Golden Era's past. With a smooth swaggering narrative, RandiVision raps with a salacious flow that plunges into distorting transitional adlib digressions that punctuate his own fathomless introspections about our nation's state, giving us a moment to take in the sentiments he is expressing about the injustice befalling minorities in this country. He's asserted his distress with the status of the government before saying, "this country still has a lot of shit that needs to be corrected before it's too late," and "all I want from the gov is to keep it real with its people." So it's no surprise that RandiVision would touch base with the subject throughout "909." "Options" comes next and as though it's playing straight off the demo-tapes of a Daniel Alan Maman—The Alchemist—produced track. RandiVision incorporates timeless samples here that sound like they were torn off of the vintage record we found at the local mom and pop record store down the road. A reoccurring pad plays the same monotonous drones, but somehow, it perfectly fits the rest of the saturated and antique-sounding sonics that RandiVison is swimming in like a veteran. It's impossible not to get absorbed in the sense of wow and flutter as he buzzes over a mantra-like hook that renders up a classic call-back incantation from hip-hop's golden era; standing as a highlight in the variety of this young rapper's influence and style. "Down the Road" uses oscillating and muted vocal samples as the booming primary engine behind that croons of our Cali-native's magnetizing hook, "you never really know, what's down the road, you just keep pushing for sure." It's an uplifting cut that takes source from the talents of the Illinois notoriety Producer performing on this track under the moniker "Aleks James," for a verse that devastates with its adhesive impact. The album feels cohesive with most songs sailing on a bouncy trap-reminiscent beat production with an eclectic but well-fitting source of samplings. RandiVision reaches out and grabs at everything between hooking R&B inspired choruses and the West-Coast bellicose attitudes of urban hip-hop on this playback, and it's addicting, to say the least. There are minimal missteps with "909," with "Flip," coming in as the highlighting single on this album. It's a production that adopts an infatuating horn sample's neo-jazz sound and incorporates a timeless saturation over the new-age lyrical slicing that RandiVision performs like a sushi-chef over the hook. His manta here is garnished with muted adlibs that feel nostalgic about Isaiah Rashad's softened call-backs off of The Sun Triade's best moments. Even his aesthetic is more oozy and industrial with no modesty in distortion or ominous resoundings of, "I got money on my mind," that he incorporates around the corner of each hook. It's a vestment that suits him well and is already stuck in our heads as we pass along to the final cut, "Bravo." RandiVision hasn't been precisely enthusiastic with utilitarianism throughout "909," with cuts at his competitors and naysayers festooning several verses in this album's playback. Still, this final cut proves that was never his prerogative; he has his own influence and sound in mind, and it's gotten him this far already, so he's not about to the change his views and style for the common-mass listener. Here, on "Bravo," RandiVision teams up with his stage-sharing companion, KingShawn. The two rappers have been tight since their days of sharing the same stage at fashion pop-up shows on Melrose Avenue back in 2017, and we can feel the cohesion between the two influential rapper's minds between verse and hook. It's a thuggish escapade that spits out riffling stanzas about underground cashflow and crushing hooks that meander over ominous-sounding samples with wreath the enigmatic backgrounds of this cut with an individualistic sound. Lorde Sanctus adorns a hot-blooded verse on this track as a bonus, leaving us with an aftertaste that we are simmering over even as the final resoundings of RandiVision's magnetic top-line marks the exit sign to the prismatic sonics found within "909." When we think back, this record stands as a clear sign of the trajectory RandiVision's career is about to take. He borrows with a connoisseur's ear from the alternative sounds of hip-hop and interlocks them together with the new-age vibe of the West-Coast trap. It's an exciting move forward for RandiVision, and we simply can't stop obsessing over the direction he's taking as an artist in L.A. right now. Can you walk us through your mindset going into this record, and how you felt coming up to the final moments of its release? My mindset was pretty simple going into this project. I wanted to release a quality project that would really set me apart from who I was before. I want to be sonically untouchable. I want to live where the greats are. To do so it takes time, practice, rest, and faith. I still have a long way to go but I’m headed in the right direction. Do you think "909" paints a cohesive picture of who you are as an artist? Honestly, I don’t like the word or use of “Urban Artist.” Theoretically, what does that even mean? And why is that acceptable? That’s just my opinion, I could take you down a rabbit hole but why? The greatest “ARTIST/MUSICIANS” have always been able to adapt to any sound, or genre and still make a significant impact. With the right combination of focus, practice, rest, and faith anything can happen. I feel I pushed myself in the right direction. Website #BUZZMUSIC

Coming from Paris and Los Angeles, the orchestral Sci-Fi Pop collective Warningfield releases a dreamy video visualizer for their retro-inspired debut single, "1981." Merging the talents of multi-platinum, award-winning writers, producers, and Grammy- nominated composers and performers, their music is a unique hybrid of dramatic underscore woven together with conceptual pop songs. With their debut single "1981," Warningfield pushes listeners into this deep nostalgic state while questioning the changes we would make if given the opportunity to go back to a simpler time. Not to mention with their exceptionally conceptual visualizer for the song, we're instantly transported back to a time of freedom, discovery, and groove. The visualizer for "1981" begins with incredibly edited scenes that open similar to a video game, while the song dreamily begins with pulsating keys and echoed vocals. While distant keys flutter above and subtle percussion begins to rain down, ShyBoy's vocals softly ascend into his head voice and perfectly complement the surrounding airy and retro sci-fi-inspired production. Once the plucky bassline begins thumping, the song's energy heightens and delivers this highly nostalgic atmosphere. Warningfield's visualizer continues to support the song's retro-feel, filling the video with an entire 80s aesthetic through shots of a needle touching down on vinyl, nostalgic alarm clocks rewinding, typewriters, and heavy technological scenes that depict the initial moments of music meeting technology. With tightly-wound production and a visualizer that sends us back to simpler times, "1981" easily finds a place in our hearts with the track's entire nostalgic experience, taking us out of present-day turmoil. Congratulations on the huge release of your collective's debut single, "1981." What inspired the group to go back in time with the release of your debut single? When we began working on “1981,” the first thing we did was layer a number of synth parts that had a very specific retro flavor. The kind of stuff you hear in the sound design on an early 80s pop records and soundtracks. The lyric was born out of this process. We started talking about the music of that era and wrote about what it might be like to take a trip back and create songs in that time and place, while at the same time being able to use modern knowledge and tools. The age-old time travel fantasy. Could you tell us about Warningfield's creative process for "1981"? Seeing as you're based in Paris and L.A., have the world's circumstances hindered your process? There are four of us, each with our own studio setups. Our process has always been to collaborate remotely, where one or two of us start something and then send it over to the other guys. After a few back and forth passes of ideas, we arrive at a final mix. We occasionally come together to work in person when we are in the same city together, but our process is usually long distance - so not much has changed in our workflow. Speaking on the visualizer for "1981," did you have anyone come in to help with the video's editing? What sort of visualizations did you initially want to take place to help reflect the song's concept? The video was an in-house job. We were very inspired by the song and curated visual clips that helped tell the story. We wanted to focus on the alchemy of music and technology and how they came together in a really specific way at that specific time. Could you tell us how Warningfield undergoes merging two different sonic approaches like retro synth-pop and dramatic underscore? What initially inspired this sound? We all come from various backgrounds in music. Pop production, rock bands, DJ culture, film, and TV composition. We wanted to see what it would be like to merge them all into one sound. Ultimately, we are all music geeks and love to experiment with styles. What are you currently working on with your music and what can fans anticipate to hear next from you? There are several more songs we have in the works, which are all at various stages of development. We’ve discovered that it’s really important to let the ideas gel and morph however they are meant to, so we never rush the process.

Theory is the NY-based Rapper and Producer hard-set on taking listeners' playlists by storm with his Island-infused Hip-hop and Dancehall amalgamated music productions. It's a devout and certitude-based ambition that fuels the buzzing vibes behind his latest Single, "Toni Braxton," a warm track that floats buoyantly between an archipelago of shoreline connections weaving between Hip-hop, R&B, and Dancehall. With an oozing Soca rhythm, Theory sets a steady cadence for Toni Braxton to sail across the Island-inspired auricular sonics chaperoned by; flute hooks, twinkling triangles, and shimmering pads, the adhesive unified flow, and a sharp punch in the low-end. Here, the NY-based rapper and the qualified intoners he's meticulously stanchioned throughout his dancehall paradise—sonically interweave over the sun-shinning, sun-glass festooning vibes that good weather usually comes attached to. It's a song that immediately gets you in the mood to go out and conquer the day, especially over a soundtrack that renders-up tantalizingly vivid from verse to hook, where Theory crisscrosses between a clever-tongued Emcee and into a tuned songster, with the warbling top-line, "Somebody, Please Call Toni Braxton." It's an egalitarian-approach to exhibiting the inspirations and cultural experiences that makes Theory a multi-diverse talent, and after all, he's said it before, "Theory is Everything." It's a nebulous ethos the East-coast rapper has adopted, and yet, it somehow makes sense when stanzas like, "my music on her phone, my name on her belly, she told me Theory is everything, I call her Machiavelli," devastate with how nonchalant they land and how keenly they shine. What were some of the musical inspirations that went into "Toni Braxton?" (other than the singer herself). Musically, Simone and I dived into the Latin Pop/Reggaeton bounce and captured elements from it. The guitars were a must to keep so we had an authenticity to it, and not full-on electronics and synths. The flute was inspired by me whistling in a memo and the feel from the hit song “Lean Back” by Fat Joe. If you played them back to back, the whistle arrangement is inspired by it.  What were some of the emotions and vibes you found yourself dipping into for the performances you've captured over "Toni Braxton"? Knowing that I posted the freestyle on “TikTok” initially, it was always in the back of my mind to ride that energy related to the apps culture. I was very cautious about the emphasis of each line because I wanted the listener to be like “That’s my favorite part” and in fact, transcend my personality into someone else’s lifestyle. I worked diligently with artists Vince and Danielle on their execution and they both have set high standards for their part.  Who did you end up collaborating with over the Hook and featured Verses for "Toni Braxton," and what was it like working with them? Besides myself, Vince Palmeri was in the verse. He and I have been talking to make a collaborative track for a while as I saw much promise in his hunger for Pop music. We both recorded our verses at Overit Studios in Albany, NY with Adam Clairmont engineering the track. The vibe was fun and free. There was a point where the verse had different lyrics and we laughed all together saying, “Oh no, that won’t work!” Hahaha! Once the final lyrics were laid out, we knew we’re onto something. However, it was just Vince and me, and I let a friend in Moldova listen to it. In her own words, “Theory, I like it but...it NEEDS a female vocalist!” I called my business partner Kevin Gordon in Las Vegas and asked him about his artist, now known as “Danielle Farah”, based in Tallahassee FL. After a few conversations on the phone, some lyrical and melodic exchanging, and Simone and I modifying the production to create her slot, we had another verse. It was mint from then on! Can you take us back to what the inception for "Toni Braxton" was like? Did it start in a DAW, in a studio with co-producer Simone Ermacora, or with a simple Melody on paper? At first, I was freestyling on a music app that later became my verse for the song. My younger sister said to me, “Wow this is hot. You should make an actual song out of this!”, after hearing my freestyle. I also shared it with Vince Palmeri who saw much potential in the verse itself. He and I purchased the products used on the app, but I went deeper and consulted with Simone in Italy to reproduce the entire sound. As we went back and forth we built the song element by element until we felt certain of its energy. It wasn’t until I was in the studio that I confirmed the title was “Toni Braxton”. I knew Identifying someone who captured your attention immediately, someone with poise and class, and ultimately a timeless effect was symbolically what Toni Braxton means to me. So, in essence, her name was a label to that type of person. What has been keeping you inspired in 2020? Battling through the trenches and pitfalls. Understanding the fall and recognizing humility. 2020 has put many to a halt and it has shown us how much we took for granted. The simplicities in life: family, health, and mental awareness. I’ve made so many mistakes and had such a negative cloud over me to the point it was very consuming. My humility reminded me to rise above it and focus on the normality of my life. Though I’m not perfect, I’m hopeful and now mistakes are pardoned as I seek new frontiers and foreseeable success. All in all, it is what we manifest that presents the results. Instagram #BUZZMUSIC